Product Description

One hundred forty-four proof, notoriously addictive, and the drug of choice for nineteenth-century poets, absinthe is gaining bootleg popularity after almost ?a century of being banned. Due to popular demand, Absinthe: History in a Bottle is back in paperback with a handsome new cover. Like the author's bestselling The Martini and The Cigar, it is a potent brew of wild nights and social history, fact and trivia, gorgeous art and beautiful artifacts. As intoxicating as its subject, Absinthe makes a memorable gift for anyone who knows how to celebrate vice.

Product Details

• Amazon Sales Rank: #1053352 in Books
• Published on: 1997-02-01
• Format: Bargain Price
• Number of items: 1
• Binding: Paperback
• 172 pages

From Publishers Weekly
Few drinks conjure the cultural associations and charged atmospheres that absinthe does, even now, some 70 years after its ban in Europe and the U.S. Freelance writer Conrad sees absinthe "as a skeleton key to the fin de siecle's secrets." An engaging combination of art history, sociology, travelogue and artists' biography, this clever hybrid recounts both the praise heaped upon the alcoholic beverage and the tales of destroyed creativity and absinthe-related violence that led to its prohibition. Turn-of-the-century Paris comes alive, as does its expatriate society of the '20s. Oil paintings, etchings and artifacts with absinthe themes by Manet, Van Gogh, Lautrec and others adorn the pages, and quotes and anecdotes about the green liqueur by Wilde, Baudelaire and Hemingway fill the well-researched text. More sober chapters include "The Origins of Ancient and Modern Absinthe" and "Absinthe and Politics," which links certain temperance movements to anti-Semitism. Like its subject, this volume is addictive and enchanting.
Copyright 1988 Reed Business Information, Inc.

Review

Absinthe, as reviled in its time as crack cocaine is today, now seems the rather quaint forbidden fruit of a more innocent age. We think of fin-de-siècle poets guzzling it in stagy despair or old paintings of stoned-out Parisians who don't look as if they're having that much fun slouched over their liqueur glasses.

But absinthe-drinking certainly was a drug scene. A serious absintheur would add the water to the liqueur slowly, pouring it over a sugar cube in an elaborate slotted spoon with a ritualistic absorption that reminds us of a junkie shooting up.

Like its non-scandalous descendant, Pernod, absinthe turned milky when mixed with water, with an opalescent greenish tone. Emerald green came to have the same implication of druggy ecstasy in the art of the 1890s that paisleys and mandalas had in the psychedelic '60s.

There is a curious history here, and Barnaby Conrad III recounts a lot of it in this fascinating book first published in 1988 and recently reissued by Chronicle Books. One of the things he makes you wonder is how people ever got addicted to a drink made from wormwood (apsinthium), a proverbially bitter herb best known as an insect repellent and cure for worms. Wormwood was an ingredient in many of the hopefully medicinal liqueurs people had been concocting since the Middle Ages. (Another of them, vermouth, actually gets its name from wormwood.) The one named absinthe had been made since the 1760s but didn't become controversial until a hundred years later.

The absinthe cult began, as Conrad explains, in the 1840s, when the French government issued absinthe to soldiers stationed in Algeria as a fever preventive. Some of them took to drinking it, let us say, recreationally and brought the custom back to Paris with them.

In the end, it became the symbol of decadence at a time when decadence was taken very seriously. As a result of the clamor, it was illegal just about everywhere by World War I. It is the only alcoholic beverage ever singled out by law as uniquely dangerous.

Along the way, many writers and painters had been seduced by absinthe. Most of Conrad's book consists of juicy anecdotes about famous artistic absintheurs: Early Symbolists like Beaudelaire, Rimbaud and (to show that even Americans could be decadent) Poe. Alfred Jarry, a forerunner of Dadaism who dressed like a bicycle racer and spoke like a robot. A whole parade of painters, including Van Gogh, whom it certainly did no good. One of the best things about this book is the illustrations -- 100 in black and white and 60 in color (leaning toward the green, of course).

The fact that French public opinion turned against absinthe was the strongest argument of the people who campaigned to outlaw it in other countries, but Conrad tends to side with those who think absinthe was the victim of hysteria in France. Unlike wine, it was a drink of the Industrial Age. Reformers and other worriers associated it with the squalor of the new urban slums, it played the same role in France that gin did in 18th century England. They saw it as an all-consuming plague, though it never actually accounted for more than 3% of the alcohol consumed in France.

On the other hand, some people were certainly getting messed up on it. Conrad points out that absinthe was bottled at 144 proof. Serious devotees of "the green fairy" hated to dilute it with much water, and the high level of alcohol alone could account for much of the damage. But then he quotes several attempts by literary absintheurs such as Oscar Wilde to describe the stages of absinthe intoxication, which involved mood swings and hallucinations that were evidently unlike plain drunkenness.

The obvious suspect was a component of wormwood named thujone which can, in sufficient quantity, cause epileptic-type convulsions. (Conrad wastes a little time trying to connect thujone with THC, the active ingredient in marijuana.) On the other hand, some 19th century scientists found that too much of anise, the main flavoring in absinthe, could be bad for you in itself.

In fact, most of the ingredients in absinthe and other medicinal liqueurs were harmful in excess. Conrad winds up with a maybe-this, maybe-that conclusion about what absinthism was all about.

At the end of the book, he describes finding an absinthe bootlegger in Switzerland and experiencing a grandiose absinthe intoxication. He says it made him feel he'd found the key to the mystery of life, but the next morning he couldn't remember what it was all about.

So it was an artificial paradise. It would be surprising to be told it wasn't. Anyway, we still have all those moody fin-de-siècle paintings and juicy anecdotes.

-- Los Angeles Times, May 1997

In "Absinthe: History in a Bottle," Barnaby Conrad 3d has set out to give equal weight to absinthe as a social phenomenon and absinthe as an imaginative theme. The result is an engaging exercise in cultural history . . . "Absinthe" is a handsome book, too, with nearly 200 illustrations, more than 60 of them in color. This is as it should be, since the figures who play their part in the story include Manet, Degas, Gauguin, Toulouse-lautrec, van Gogh and Picasso. But Mr. Conrad also finds room for a wealth of pictorial documentation: brilliantly colored posters, caricatures, photographs, drawings from magazines, enticing labels, temperance propaganda. -- New York Times, December 16, 1988

Stuffed with irresistible ancedotes and illustrated with a panorama of drawings, photographs and color reproductions of famous paintings, this vivacious consideration of 19th-century Europe's most popular -- and addictive -- drink presents a look at its place in the lives of some of the era's most gifted poets and artists. The bitter green liqueur has been banned in most of Europe and the United States since 1913. -- Philadelphia Inquirer, 2/8/89

About the Author
Barnaby Conrad III is a painter and the author of ten books including Absinthe: History in a Bottle , published by Chronicle Books (0-8118-1650-8).

Customer Reviews

book
My best friend is going to enjoy reading this book about the history of Absinthe. Thanks!

The liquor called "Absinthe"--- in Art and History!
When I first saw this book, I wondered how any author could fill an entire book on just one subject: ABSINTHE. Well, the author of this book managed, somehow, to intertwine the history of Absinthe, along with Art from the Impressionistic period, and also the economic influences during the period in History in which ABSINTHE was legalized ....and then later on, in which Absinthe was pronounced illegal (ie: in most Countries, even today).

In fact, this book gives a wonderful explanation as to why ABSITHE finally became illegal in most parts of the World (...and I doubt that many books have explained this fact in such great datail ,thus far).

In a nutshell, this book is fascinating and the author really did his homework!

The book "Absinthe" is in full color, and many of the paintings in this book portray characters drinking (and enjoying) ABSINTHE. Photos are not skimpy. Reproductions of the Impressionistic paintings take up the full page (in many instances).

If I may add: I had no idea that so many famous painters (eg:Degas) had produced such wonderful paintings with this liquor (Absinthe) as part of the subject matter! In fact, many of the Absinthe paraphernalia shown in the reproduced paintings, had to be pointed out to me, as the reader, by the author. Without the author's keen insight, I would have surely missed the connection.

In conclusion, if you are an Art lover, and also, if you are interested in the subject of History, in general, I think that you would find this book not only fascinating but also enlightening.... on a subject so rarely discussed.

A lovely book riddled with errors and solecism
This is one of the most beautiful and beautifully produced picture
books about an alcoholic beverage that I've ever seen. The plates
represent a pocket history of fine and graphic arts around the turn
of the nineteenth century.
Unfortunately the text doesn't live up to the promise of the pictures.
There are a number of errors: piquette is not exceptionally strong wine-
it is an exceptionally weak one. There is also some silliness: dogs
can't be said to have hallucinations and many experiments are reported
without a trace of interpretation or skepticism.
This lack of critical thinking is especially odd since the consensus
of researchers is that 'absinthism' was a myth. Whatever psycopathologies
may have been attributed to its consumption are no different from
those traditionally associated with drinking alcohol of questionable
purity. Moonshine drinkers in America and cashasa drinkers in Brazil
are the relevant comparisons.
There is also no mention of the recent absinthe revival and nothing on
the prickly and central question of just what ingredients are necessary
before an herbal concoction can be called 'absinthe'.
The best part of the text is the last. The author recounts his own
experience chasing down a bottle in Switzerland and consuming later
in his flat in Paris.
So buy this book for the pictures, but read almost anything else
for the real story.

Lynn Hoffman, author of the totally factual New Short Course in Wine,The and the completely fictitious bang BANG: A Novel